| HOME | INDEX
SILENT MOVIE |
THE
GERMAN
SILENT MOVIE |
 |
| HOME | INDEX
SILENT MOVIE |
THE
GERMAN
SILENT MOVIE |
|
| Hermann Haller
1909 - 1985 |
.
. The editor Hermann Haller learnt his cinematical abilities at the Bayerische Staatslehranstalt. Afterwards he got a job at the film company Emelka as a dramatic adviser. Finally he went to Berlin where he joined an education as an editor at the Tobis-Tonbild. He soon was able to make his own experiences as a cutter in the film business, first as an assistant of Arnold Fanck for the movie "Die weisse Hölle vom Piz Palü" (29). Hermann Haller soon became a demanded main editor and he was responsible for cut of well-known movies of the 30s like "Der Raub der Mona Lisa" (31), "Der Rebell" (32), "S.O.S. Eisberg" (33), "Abschiedswalzer" (34), "Stradivari" (35), "Varieté" (35), "Das Schloss in Flandern" (36) and "Zauber der Bohème" (37). With the rise of the National Socialism in Germany he first went to Austria. After the annexation of Austria to the German Reich he returned to his home country Switzerland where he was able to continue his career as an editor too. At the beginning he worked together with Käthe Mey partly. When Käthe Mey was banned from the Swiss job market during World War II because she was a British national Hermann Haller became the leading editor in the Swiss film business. To his first works in Switzerland belong "Füsilier Wipf" (38), "Gilberte de Courgenay" (41), "Das Gespensterhaus" (42), "Marie-Louise" (44) and "Die letzte Chance" (45). After World War II Hermann Haller was virtually involved in nearly all important Swiss movies and he belonged to the regular film crew of the Praesens Film AG. In the next ten years he was the editor for the productions "Die Gezeichneten" (48) with Montgomery Clift who made his film debut with it, "Matto regiert" (49), "Die Vier im Jeep" (51), "Heidi" (52), "Uli, der Knecht" (54), "Uli, der Pächter" (55) and "Heidi und Peter" (55). From the middle of the 50s Hermann Haller began again to work in Germany as well but remained true to the Swiss film business. There came many very successful movies into being for which Hermann Haller was responsible for the cut, among them "Es geschah am hellichten Tag" (58), "Ein Mann geht durch die Wand" (59), "Der brave Soldat Schwejk" (60), "Anne Bäbi Jowäger, 1. Teil" (60), "Im Stahlnetz des Dr. Mabuse" (61), "Der Lügner" (61), "Die unsichtbaren Krallen des Dr. Mabuse" (62), "Der Schatz im Silbersee" (62), "Anne Bäbi Jowäger, 2. Teil" (62), "Der Zinker" (63), "Das indische Tuch" (63), "Winnetou" (63), "Unter Geiern" (64), "Der Ölprinz" (65), "Die Nibelungen" (66-67), "Der Tod im roten Jaguar" (68) and "De Sade" (69). The German film business went into a crisis in the 70s and a lot of slapstick and erotic movies dominated the cinema scenery. Therefore cinematical masterpieces remained seldom for Hermann Heller too during this time - among them the serial "11 Uhr 20" (70) and the serial "Der Seewolf" (71) with Raimund Harmstorf -where he could demonstrate his cinematical abilities. To his works of those years belong "Die Lümmel von der ersten Bank, V. Teil - Wir haun die Pauker in die Pfanne" (70), "Lass jucken, Kumpel!" (72), the serial "Ein Fall für Männdli" (73), "Liebesgrüsse aus der Lederhos'n" (73), "Der Jäger von Fall" (74), the serial "Lockruf des Goldes" (75), "Das Gesetz des Clans" (77) and "Kreuzberger Liebesnächte" (80). Besides his activity as an editor Hermann Haller also realised some movies as a director respectively as a director assistant. Hermann Haller was married with the editor Gisela Haller. Other
movies from Hermann Haller (Editor):
Director: Director-Assistant: Costume: Sound: |
| Back |
